The Traditional Palestinian Dabka Dance - Research Paper Example

The Traditional Palestinian Dabka Dance Introduction The mention of Dabka dance in Palestine elicits vintage emotions. It changes the ambiance from the fast paced contemporary world to the traditional setup with which Dabka dance is associated. Dabka dance is the national dance of most Arab speaking nations such as Lebanon, Syria, Palestine, Jordan and Iraq (Shamma, 2013). The dance originated in Tadmur 2200 years ago during the rebellion against the Romans. It involves alternating circular and linear arrangements while dancing. In most cases, Dabka dance is performed during joyous occasions such as weddings. Other occasions are The Land Day and Global Days where each country represents its dance. Because of its close linkage with joyful events, its mention evokes instinctive emotions that are triggered when the memories of the happy moments start trickling in an individual’s memory. Dabka dance is truly part of the Palestinian heritage (Nazir, 2015). History In as far as the history of the Dabka dance is concerned, there are a few conflicting theories as to the exact geographical origin of the dance. However, popular anecdotes imply that it originated in the mountainous and hilly Levantine regions above the coastline of the Mediterranean and the Tigris River (Nazir, 2015). Some of those countries are Jordan, Palestine, Syria, and Egypt. However, all theories converge on the idea that it began around the construction of houses (Farsoun, 2004). To be more precise, the dance developed as a call to pull effort during the construction periods. In those times, roofs were made of dirt, and they required massive stomping of the dirt to solidify the roof and also make the dirt appear evenly distributed. (Al- raja, 2012) In order to fix the roof, the people would hold hands and start dancing their feet in a line thus causing the mud to adjust. Since stomping the feet in a stationary position with hands held is a difficult act, they had to jump about and subsequently the dance developed. (Elad, 2008) Whenever anyone noticed a crack in the walls or roof, all they needed to do was call out the neighbors through a yell that translates to, “let’s go and help,” and the dance would commence. From the above explanation, the reason for the dance comes out strongly as a call for help. It unites the community in combating problems and at the same time is a form of entertainment. Dabka dance is inherently unique as compared to other contemporary dances. It embodies culture in that it bursts from a rich origin dotted with folklore. It goes beyond the dance to capture heritage and culture. More than that, it assumes a universal appeal in that the participants are extremely diversified. It appeals to the young and the old in equal measure (Sheehan et al, 2008). The audience of a Dabka dance has old men, old women, the youth and the children, and they all manifest happiness. In today’s contemporary world, to find a dance that cuts across age groups with such a magnitude of ease is rare (Elad, 2008). With time, the dance has asserted itself as a significant part of the Palestinian people. It plays a crucial role in creating a perpetual bond between the locals. Their families are close to each other creating a resistant bondage. More than that, the dance is passed on from generation to generation thus maintaining its immortality and creating a prelude of what life was like in the ancient days. Intergenerational integration and convergence create an inclusive culture that sustains the history of a people (Nazir, 2015). In addition to forging crucial social ties, the dance is healing like all other forms of entertainment. Through this famous dance, the Palestine people can vent out their frustrations and rejuvenate their spirits. It infuses an ecstatic mood thatdisplaces sadness. In essence, this certainly contributes to the general well-being of the Palestinian people. Specifics Conventionally, Dabka dance is a happy dance (Farsoun, 2004). Like mentioned earlier, it is mostly associated with blissfulevents. As such, Dabka is mainly performed during weddings and happy events. It is also performed on national days as the people range with pride and prestige of their nationality and the significant symbols of their nationality such as the Dabka dance (Nazir, 2015). Anybody is suitable to participate in the dance for as long as they are in a group. The group usually has a lead soloist called the Lawweeh who alternates between facing the audience and the dancers. The Lawweeh is for the most part expected to regulate the pace and rhythm of the dance by his instructions or pace setting. Given the responsibility presented upon the Lawweeh, he usually is a man of great skill, accurate and very quick to maintain or change the tempo of the dance when need be (‘The Art of Dabke: Music, Style, and Form’, 2014) The Dabke dance can be performed by male or female folks in a unisex setup. It is also possible to do it in a heterosexual arrangement where both sexes participate. In a more likely scenario, the audience may get carried away and dance spontaneously as the dance progresses. The dancers wear traditional clothes as a dancing costume. Women will wear long dresses that are embroidered. The dresses have to be long sleeved and are often colorful. The dresses flare at the bottom and they are gracefully held intact on the waist by a thin beautiful belt. On the other hand, the men are conventionally dressed in baggy trousers. The trousers are held in place with wide belts whereas the feet are covered in long leather shoes. Finally, the heads of both male and female may be covered with a plain white scarf or in its absence, white with a black pattern scarf. Given that the dressing is so traditional, it preserves the validity of the Palestinian culture as evidenced by their form of dressing (Elad, 2008). The dress code also alludes to the dignity of their people primarily because they believe that too much nudity is undignified and improper. Any dance is a reaction to a song. Even the Dabka dance is a dance to the rich Palestinian music. The music must be in sync with the moves of the dance as guided by the Lawweeh. Like expected, Palestinian dance more than being a source of entertainment, it embraces values that are held dear by the locals. That is exactly why the dance moves are specially choreographed, and stage-managed to send the kind of message that they are intended to deliver and express. In a number of times, the main theme centers on the engagement of youth, marriage, and advocating moral values. For example, the male and female can engage in symbols such as holding hands, a quarrel or even make faces with the intention of relaying a message of how real life is. Personal experience I chose this dance because it interests me. Interest surpasses any obstacle, and that is why I went for something I am interested. Additionally, being a Palestinian, I have a natural bias and experience towards Palestine dances and especially the internationally famous Dabka dance. The dance predisposes a sense of national superiority to me. I made a choice to use a Lebanese song going by the title of “Al AinMulayetein” by Majd Al Qassim. The song is a wedding song and maps a profound and sincere love emotions. They are elicited by the declaration of vows and decree of affection in openness. The song can be used in a Palestinian dance by preparing solely on the presentation aspect. In a very broad sense, this will involve play acting in the presentation to provide a sequel of events that flow logically. The play creates a storyline in the dance and keeps the audience engaged. I witnessed several performances that were in different occasions, mainly in our weddings. I went ahead to participate in one performance at the American University of Sharjah in the year 2013and 2014 at the Palestinian cultural club during the global day. Learning the song and the performance of the dance were initially a challenge but persistence kept me balanced. It takes a lot of time and effort to form and perfect choreography. To reproduce a masterpiece, we incorporated visual aspects such as facial expressions to add flavor to the otherwise monotonous piece as it plays a huge role in the performance. However, the structure of the dance after the intense choreography became a little complex. We strived to synchronize our moves to produce a congruent presentation. In subsequent dances, I intend to create a balance between sophistication and simplicity. Evolution It is worth noting that the Dabka dance has developed in leaps and bounds. From being an extremely localized event in a village setting, it has scaled the heights to assume the role of a national symbol. In the olden days, its performance was entirely a consequence of an event. In today’s contemporary world, its performance is not entirely dependent on events as that can be very coincidental (Sheehan et al, 2008). There are occasions where it is performed entirely for entertainment as a subject. It has also developed international prominence and continues to gain popularity without losing the traditional and authentic touch (Farsoun, 2004). Today, it is performed in all major Arab countries such as Lebanon, Palestine, Iraq, etc. There also are occasional performances in major theaters and universities of the world. Modern performances vary in the approach of presentation. While some are fast paced, others are slow and remarkably conserved. However, they all retain the inherent style of jumping and being organized in a line. Speaking on the future of Dabka dance, it is poised to attract global popularity. In the next decade, the dance will not be a Palestinian or Arabic only phenomenon, but an international activity. Preservation Ancient forms of entertainment are quickly losing ground to contemporary forms of luxury. Many of them get lost in the process of modernization to suit the present audience. Desire for money also causes individuals to distort its authenticity by giving it a commercial dimension. Like any other traditional phenomenon, Dabka dance is at risk of elimination and deserves to be protected. First, the people need to fully embrace the dance so that it becomes an official national item. By so doing, it will become everlasting, and the rampant modification of inferior versions will be kept at a low. Alternatively, the dance should be promoted in cultural fairs and open days of the Palestinian nation. Over time, it has come to be known as the face of the nation’s practicing it. As such, it should be immortalized in the exhibition stands so as to deepen its glamor among locals and foreigners. In this way, it will never fade into oblivion. Lastly, the locals should take absolute charge of the performance and style guidelines for the Dabka dance. Some performances may be modified too much so that they deviate from the true Dabka dance yet retain the vintage name of Dabka. Such a move will dilute the originality and traditional aspect of the dance. For example, the costumes and probably the tempo should be standard and only determinable by the audience so as to compel the performers to stay within expectations thus protect the dance from dilution. Conclusion Dabka dance is a way of life. It is a way of life that passes from generation to generation and appeals to the young and old. It is a common factor among locals that ensures their bond and sustains their relations. More than that, it is an art that challenges the stretch of our minds to conceptualize and deliver pieces in tandem with the conceptions. Personally, I think that Dabkais a significant part of the Palestinian heritage and should be guarded vehemently Reference list Al-Raja Folkloric Dance Troupe. (2012, November 5). Retrieved April 28, 2015, from http://www.elcjhl.org/department-of-education/schools/ramallah/dance-troupe/ Elad, A. (1999). Modern Palestinian literature and culture. London: F. Cass. Farsoun, S. (2004). Culture and customs of the Palestinians. Westport, Conn.: Greenwood Press. Mc Donald, D. (n.d.). The Palestinian Debke and the Politics of Preservation in Exile and Under Occupation. Retrieved April 28, 2015, from http://www.academia.edu/2566725/The_Palestinian_Debke_and_the_Politics_of_Preservation_in_Exile_and_Under_Occupation Nazir, J. (2015). The Lovely Planet. Retrieved April 28, 2015, from http://www.thelovelyplanet.net/dabke-dance-of-lebanon-palestine-a-symbol-of-national-prestige-and-patriotism/ Shamma, T. (2013). Palestinians Celebrate Culture Through Dabke Dance. Retrieved April 28, 2015, from http://wfae.org/post/palestinians-celebrate-culture-through-dabke-dance Sheehan, S., &Latif, Z. (2008). Lebanon (2nd ed.). Tarrytown, NY: Marshall Cavendish Benchmark. The Art of Dabke: Music, Style, and Form ...at WEDDINGS – Your Instructor (#3). (2014, December 3). Retrieved April 28, 2015, from http://dabketna.com/the-art-of-dabke-music-style-and-form-at-weddings-your-instructor-3/ Read More